Academic literature on the topic 'Piano instruction'
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Journal articles on the topic "Piano instruction"
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Smith, Corinne Roth, and Sheila Mofson. "Adapting Piano Instruction." TEACHING Exceptional Children 20, no. 3 (March 1988): 22–25. http://dx.doi.org/10.1177/004005998802000305.
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Zheng, YunDan, Tian Tian, and Ai Zhang. "Training Strategy of Music Expression in Piano Teaching and Performance by Intelligent Multimedia Technology." International Transactions on Electrical Energy Systems 2022 (August 29, 2022): 1–14. http://dx.doi.org/10.1155/2022/7266492.
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Teaching using a multimedia technology in the 21 s t century affords the possibility of developing novel instructional strategies and paves the way for the all-around extension of musical educational functions. The importance of multimedia teaching technology in piano instruction has started to emerge in our country and society due to the ongoing development of this kind of technology in music educational institutions here. The conventional method of teaching piano has several drawbacks that may be mitigated by using one of the several alternative methods of instruction for the instrument, especially in light of the ongoing advancements in science and technology. A pianist’s methods of expression are the tools they use to convey their thoughts and emotions about a piece of music to the audience. Teachers may demonstrate their musical skills to students and they must immediately focus on a musical expression which is vital for performers. In this paper, the Multimedia-based Piano Teaching Model (MPTM) has been proposed to improve the piano teaching quality. Traditional piano instruction is improved and developed using multimedia technology in this article. The Internet education model is used for teacher assessment, and the systematic way representing piano teaching combines different music educational materials. It begins building a sufficiently broad music network infrastructure resource sharing framework and benefits society’s amateur music literacy. The use of machine learning in students’ concrete piano instruction has the potential to thoroughly promote contemporary piano instruction and enhance the overall quality of instruction. To begin, an explanation of the intelligent piano’s features and capabilities is provided. The neural network is used to suggest a technique for detecting a piano note on a set. The network can assess the input piano music signal’s time frequency by translating the original time-domain waveform into the time-varying frequency distribution. Intelligent piano instruction analysis can effectively achieve the overall optimization of piano performance. The test results show that MPTM has a significant role in boosting the desire to learn to play the instrument. The experimental results show that the proposed MPTM achieves a learning skills ratio of 97.6%, a learning activity ratio of 98.5%, a student performance ratio of 93.8%, a teaching evaluation ratio of 90.3%, and a learning behavior ratio of 94.2% when compared to other methods.
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Kaleli, Yavuz Selim. "The Effect of Computer-Assisted Instruction on Piano Education: An Experimental Study with Pre-service Music Teachers." International Journal of Technology in Education and Science 4, no. 3 (June 19, 2020): 235–46. http://dx.doi.org/10.46328/ijtes.v4i3.115.
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This study investigated the effect of computer assisted teaching practices in piano courses in Department of Music Education of Faculty of Education on students’ success, piano playing skills and to what extent they provided permanent learning. The research was carried out with the pre-test/post-test research design with a control group, one of quasi experimental designs. In the study, the experimental group was provided computer-assisted piano instruction, while the control group received the regular curriculum instruction. There were 7 female and 6 male students in the control group and 6 male and 7 female students in the experimental group. A computer-assisted piano instruction program was developed for the experimental group. Instruction in the experimental and control groups lasted for 10 lessons. Piano Achievement Test and Piano Observation Form were used as data collection tools. Mann Whitney U test was used to test permanent learning and the success and piano skills of the groups. The results of the research show that computer assisted piano instruction applied in the experimental group is more effective than the regular curriculum instruction in increasing students’ course success and permanent learning. However, no significant difference was found between the post-test levels of the experimental and control groups in terms of piano skills.
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Dumlavwalla, Diana T. "The piano pedagogy scenes in India and the Philippines: An introductory cross-cultural comparison." International Journal of Music Education 37, no. 3 (April 17, 2019): 390–406. http://dx.doi.org/10.1177/0255761419839169.
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Categorized as developing nations, India and the Philippines are not generally known as centers for piano study. There has been little research investigating the traditions of piano education in these nations. In this study, I examined a number of issues related to piano pedagogy in each country. Data were collected from teachers in India ( n = 45) and the Philippines ( n = 28), who completed a 29-item questionnaire. Additionally, three instructors from India and one instructor from the Philippines were interviewed to gain further insight. A summary and comparison of the availability of piano instruction for pre-college students were outlined and opportunities for teacher support and professional development were explored. I looked at the current professional practices, the types of pedagogical methodologies and materials used in each country, the quality and types of pianos and keyboard instruments available, as well as the practice expectations and environments of students. How each country’s system of piano education adopts Western influence and observes their respective traditions is also presented. It is hoped that this research will lead to more in-depth investigation about these countries’ teaching practices and provide additional perspectives for pedagogues around the world.
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Shaymukhametova, Liudmila N. "Role Playing in Piano Instruction." ICONI, no. 1 (2021): 160–67. http://dx.doi.org/10.33779/2658-4824.2021.1.160-167.
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The article presents innovative forms of work with musical texts during piano lessons applied in work with beginning students in all conditions of teaching: in the academic educational process, as well as in private teaching practice of self-employed specialists. The reader shall be acquainted with concrete methodological elaborations of role playing which may be useful for the teacher in his or her practical work. The elaborations are carried out within the framework of one of the leading contemporary directions developed by the academic school of practical musical semantics. The presented homework assignments may serve as specimens for the creation of analogous elaborations by the teacher himself with substitutions of the musical material and with consideration of the pupils’ age-related capabilities. The author of the project, Liudmila Nikolayevna Shaymukhametova aspires to draw attention not only to new approaches to work with the musical text and to practical semantics as the most important direction in teaching music, but also to the question of what the contemporary textbook for the beginner musician should look like. The materials are addressed, among others, to upgrade training courses and professional retraining of teachers of schools, methodologists and teachers of general and professional education, as well as for application in practical work of private school teachers
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Latifah, Diah. "EVALUASI MATA KULIAH PIANO UNTUK MENGHASILKAN GURU MUSIK DI SEKOLAH." Jurnal Penelitian dan Evaluasi Pendidikan 16, no. 2 (January 14, 2013): 457–73. http://dx.doi.org/10.21831/pep.v16i2.1127.
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Studi ini bertujuan untuk mengevaluasi mata kuliah instrumen pilihan wajib piano dan relevansinya terhadap tujuan kurikulum Jurusan Pendi-dikan Seni Musik Universitas Pendidikan Indonesia yang berkomitmen untuk menghasilkan pendidik musik profesional. Untuk memenuhi tuntut-an ini, metode penelitian yang digunakan adalah studi kasus sosial inkuiri. Instrumen penelitian yang digunakan adalah pedoman observasi, pedoman wawancara, lembar pertanyaan lanjutan hasil informasi, dan kajian doku-men serta dokumentasi. Hasil Penelitian menyatakan bahwa partisipan ma-ta kuliah ini belum mampu untuk mengggunakan piano sebagai pengantar pembelajaran musik umum. Informasi ini ditindaklanjuti dengan rekomen-dasi, penyempurnaan silabus dan implementasi pembelajaran mata kuliah instrumen pilihan wajib piano, seyogyanya dilengkapi dengan subjek peng-gunaan piano sebagai pengantar pembelajaran musik di sekolah.Kata kunci: ketidaksesuaian kurikulum, evaluasi, rekomendasi______________________________________________________________ COURSE EVALUATION IN PIANO SUBJECT TO PRODUCE MUSIC TEACHERS IN SCHOOLS Abstract This study was aimed at evaluating “piano as compulsary course” and its relevancy toward the objectives of the curriculum of music edu-cation department of UPI that stated a commitment to provide proffesio-nals music educators. To meet this demand, the research methode used is Case Study In Social Inquiry. The research instruments are observation manual, interview manual, information question, and documentation. The research result shows that participants of this course have not shown capability of using piano as introduction to general music instruction. This information is followed up by the recommendations, syllabus improve-ments, and instruction implementation on the subject. It is recommended that ”piano as compulsary course” is equiped with subject of piano usage as introduction of music instruction at schools.Keywords: inappropiate curriculum, evaluation, recommendation
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Pike, Pamela D. "Improving music teaching and learning through online service: A case study of a synchronous online teaching internship." International Journal of Music Education 35, no. 1 (June 23, 2016): 107–17. http://dx.doi.org/10.1177/0255761415613534.
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This case study explored the potential for using a synchronous online piano teaching internship as a service-learning project for graduate pedagogy interns. In partnership with the university, a local music retailer, and a local middle school, three pedagogy interns taught beginning piano to underprivileged teenaged students for 8 weeks. All instruction took place in the synchronous online environment using acoustic Disklavier pianos, Internet MIDI, Facetime, and traditional method books. As a result of the experience, the students demonstrated musical understanding and the pedagogy interns developed teaching techniques, displayed improved comprehension of course content, learned about current distance teaching technology, and considered the role of music education in society. Based on these results, it might be feasible to provide piano lessons to underserved populations in remote locations while offering meaningful internship experiences to pedagogy students through distance service-learning projects.
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Sorokina, Anna V., and Vladimir E. Okhotnikov. "Karl Eduard Weber, How He was Known in Russia." ICONI, no. 1 (2019): 29–41. http://dx.doi.org/10.33779/2658-4824.2019.1.029-041.
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The article illustrates the life and creative activity of German pianist and pedagogue Karl Eduard Weber in Russia. Weber received his education at the Leipzig Conservatory. In 1854 he went to Russia, where musicians of high professional level were on demand, and taught for over 20 years at the Tambov Music College. However, having engaged in pedagogical activity in various Russian cities, Weber frequently experienced discontent. Having observed the unsatisfactory level of musical education, he began creating methodological works. Among them, those which became famous and were disseminated were “Rukovodstvo k sistematicheskomu obucheniyu igre na fortepiano” [“A Manual for the Systematic Instruction of Playing the Piano”] (1866), and “Putevoditel' pri obuchenii igre na fortepiano” [“A Guide to Instruction of Piano Playing”] (1876). In 1881 Karl Eduard Weber received the position of an instructor at the Tambov Alexandrinsky Institute for Noble Girls. In 1889 he switched to working at the Tambov Musical Classes (since 1900 — the Tambov Music College), where he worked until the end of his life (1913).Weber brought up the talented student Anna Gravert-Lavdovskaya (1881 – 1888). She provided initial instruction to the future outstanding pianist Victor Merzhanov. Therein, undoubtedly, lies a great merit of the Weber school. Many of the foundational traits of piano pedagogy of Karl Eduard Weber are inherent to the pedagogy of Victor K. Merzhanov.
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Deniz, Beste Ccedil evik KILI Ccedil. "Students and instructors opinions about piano instruction*." Educational Research and Reviews 11, no. 10 (May 23, 2016): 966–74. http://dx.doi.org/10.5897/err2016.2764.
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Li, Lin. "Teaching Mode of Basic Piano Course in Colleges Based on Students’ Application Ability under FC Environment." Journal of Environmental and Public Health 2022 (September 14, 2022): 1–10. http://dx.doi.org/10.1155/2022/4710520.
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With the popularization of piano education, various schools are constantly carrying out reforms in order to cultivate piano application-oriented talents. While accelerating the creation of a perfect piano teaching model, they are also striving to adapt to the trend of the times. The basic education of piano in colleges and universities is a training activity for musicians, and this education method directly affects the professional quality of music of students. How to learn basic piano is very worthy of attention. Basic piano education is a thorough training of piano in conventional colleges, which can improve practical strength and the capacity to apply music broadly. The main purpose of teaching the fundamentals of piano is to develop students’ visual acuity and help them comprehend and apply the principles of aesthetics. The teaching approach for beginning piano classes at various schools is still in its infancy and is deficient in every way. This essay examines the “flipped classroom (FC)” teaching approach used to offer beginner piano lessons in a number of schools. This study proposes the specific process of the “FC” teaching mode and explores the implementation impact of particular scenarios, specifically in light of the features of the training mode of applied abilities. Through inquiry and research, it has been determined that students who get FC instruction have greater employment rates than those who receive traditional instruction, with an average rise of 14.2 percent and a maximum increase of 17 percent. Based on the students’ application skills, it demonstrates that the FC teaching technique is generally successful for the teaching method of basic piano courses in colleges and universities.
Dissertations / Theses on the topic "Piano instruction"
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Brewer, Ferhiz. "Case study examinations of independent piano instruction in India /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1999.
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Orlandi, Laetitia Annette. "Basic piano instruction for vocal art students at the Tshwane University of Technology in Pretoria, South Africa." Diss., University of Pretoria, 2009. http://hdl.handle.net/2263/23885.
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At most universities internationally, secondary piano instruction is compulsory for all music students regardless of their field of specialisation. Vocal art students studying at the Tshwane University of Technology (TUT) are also expected to complete three years of basic piano tuition. Since the researcher teaches secondary piano at the Department of Performing Arts: Vocal Art (TUT), the aim of this study was to determine the objectives of the tuition, and appropriate methods through which they can be best achieved. The research is based on an investigation of relevant literature on secondary piano instruction for music majors at universities in South Africa and abroad. Since the researcher was primarily trained to teach basic piano to very young beginners, it was thought necessary to firstly investigate the field of adult education and basic piano instruction for adults and college-age students. The results of the literature search confirmed that basic piano tuition for children differs greatly from that for older beginners. It became clear that the success of basic piano instruction for adults greatly depends on the teacher’s understanding of these fundamental differences as well as knowledge of appropriate approaches and methods with which to accommodate adults’ unique characteristics. Subsequently, the purpose of teaching piano playing skills to non-piano music majors was investigated. Results indicated that there is a broad spectrum of skills which can aid the musician in his future career. These include technique, sight-reading, accompanying, harmonisation, transposing, repertory study, vocal score-reading and reduction, instrumental score reduction, improvisation, playing by ear, playing of folk songs, developing musicianship skills, critical listening, performance skills, chord playing, ensemble playing, realisation of figured bass, modulation, memorisation, music analysis, playing two or more parts from multiple staves, playing warm-up exercises, singing a vocal part while playing other parts, and jazz piano playing. The most important piano playing skills for non-piano music majors to acquire were identified as technique, sight-reading, accompanying, repertory study and improvisation. Controversies exist about the importance of each of these skills, but most teachers agree that they should all be present in the secondary piano curriculum. The most common method used to teach these skills to instrumentalists and singers was identified as group tuition. This method of teaching is not used merely because it is more economical but also for various musical and sociological reasons. Musical advantages include the acquisition of a broad spectrum of skills such as critical faculties, listening skills, ensemble activities, self-assessment skills, improved practice habits and progress, rhythmic stability, improved intonation, memory training and notational reading. Social advantages include interaction, peer-learning, motivation, encouragement, discovery-learning, enjoyment, involvement and the development of individuality and self-esteem. At the end of each chapter, specific guidelines for teaching basic piano to vocal art students at TUT are given. The study culminates in conclusions and recommendations drawn from the results of the literature investigation CopyrightDissertation (Music)--University of Pretoria, 2010.
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Skroch, Diana. "A descriptive and interpretive study of class piano instruction in four-year colleges and universities accredited by the National Association of Schools of Music with a profile of the class piano instructor /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1991.
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Carney, Robert D. "Using Web-Based Instruction to Teach Music Theory in the Piano Studio: Defining, Designing, and Implementing an Integrative Approach." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28404/.
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This dissertation rationalizes the best use of Web-based instruction (WBI) for teaching music theory to private piano students in the later primary grades. It uses an integrative research methodology for defining, designing, and implementing a curriculum that includes WBI. Research from the fields of music education, educational technology, educational psychology, and interaction design and children receive primary consideration. A synthesis of these sources outlines several research-based principles that instructional designers can use to design a complete blended learning environment for use within the piano studio. In addition to the research-based principles, the precise methods of determining instructional tasks and implementing the program online are described in detail. A full implementation is then deployed, and piano teachers evaluate the extent to which the online program fulfills the research-based principles. This dissertation does not argue for the complete migration of theory instruction from traditional workbook approaches to an entirely Web-based medium but rather outlines the best use of face-to-face instruction, collaboration amongst students, teachers, and parents, and interaction with a Web-based program. This formative research provides a complete model of integrating WBI within the piano studio that can guide instructional designers and music educators.
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Benson, Cynthia Ann Stephens. "The effects of instructional media on group piano student performance achievement and attitude /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.
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Pickering, Melinda. "Retention ideas for middle school piano students using group instruction." Kansas State University, 2016. http://hdl.handle.net/2097/34535.
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Master of MusicDepartment of Music, Theatre, and Dance
Virginia Houser
Maintaining interest to continue studying and practicing the piano during the middle school years can be very challenging. Not only are students distracted by so many activities but peer interactions and opinions are taken more seriously. One way to motivate piano students to continue study is to use some form of group instruction. This can be done in various ways, including theory and performance classes as well as chamber and duet preparations. I conducted two separate assessments: five middle-school aged boys and two sixth graders, a girl and a boy. I gave each of these participants a survey to determine the positive and negative outcomes experienced during these group experiences. The results of this study included the following conclusions: Students who take ownership of their music-making are also more motivated to practice; if they really enjoy a piece, they will learn it. This motivation also extends to playing with a friend, since the student will want to play competently in front of their friend. Extrinsic motivation (i.e. candy, prizes, etc.) is exciting at first, but does not really provide long-term motivation for the middle school student to practice more. The ensuing embarrassment of being unprepared was a stronger form of motivation. Middle school students also liked having goals such as working toward an upcoming festival or competition, since it gave them a goal toward which to work, even if they did not like the idea of being judged. Students also enjoyed playing duets with a parent, which proved to be a positive experience in this study. Occasionally, however, the teacher had to deal with factors beyond their control and the student decided to discontinue study.
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Michal, Elva Tice. "Teaching piano skills to handicapped persons through use of systematic instruction : a proposal." Connect to resource, 1987. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1262631645.
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Kronish, Neomi Baylin. "Social, cultural, and psychological influences on three promising piano students' desicions to continue taking piano lessons." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85180.
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In this inquiry, I used a qualitative-portraiture approach to examine the social, cultural, and psychological influences on piano students' decisions to continue taking piano lessons. I collected data between 1997 and 2002. Data types included field notes, interpretive memos, audiotaped and videotaped piano lessons, audiotaped one-on-one interviews and retrospective interviews, email messages, and written documents. The main sources of data used for analysis were transcribed videotapes of piano lessons in the music studio and interviews with the teacher and three of her promising students. I drew on Vygotsky Halliday, and Wenger's theoretical frameworks to conceptualize my understanding of the social, cultural, and psychological issues that influence promising music students' commitment to learning music. I used Vygotsky's social-psychological-developmental theory of learning and Halliday's social theory of language to portray the significance of piano students' experiences in a music studio, their relationships with their teacher, and the teachers' use of language in the decision. Vygotsky's perspective on volitional-affective tendencies provided a framework for understanding how students' abilities to cope with their emotions influenced them to continue their music studies. I drew on Halliday's concept of Register to analyze the transcribed videotaped lesson data sets. I used Wenger's notion of Community of Practice to portray the social, cultural, and historical characteristics that play a role in motivating students to learn music. I found that being socialized into the music community, developing musical competencies, becoming a self-regulated learner, and being able to cope with the emotional experiences of playing and performing shape students' decisions to continue piano lessons. The results of my findings support that teachers influence their students' decision to continue their music studies by socializing them into the practices
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Mortyakova, Julia Vladimirovna. "Existential Piano Teacher: The Application of Jean-Paul Sartre's Philosophy to Piano Instruction In a Higher Educational Setting." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/230.
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This essay uses existential ideas of Jean-Paul Sartre to provide a philosophy of college piano performance teaching which includes awareness of freedom, abandonment and responsibility as a prerequisite for student-teacher interaction. To set the stage for the interaction the study uses Sartre's philosophy, illustrated with concrete examples from the world of piano teaching and performing, to describe what it means to be human. The author applies Sartre's writings about literature to support the idea of an engaged performance, relating it to existential psychoanalysis, making the performer and audience member realize freedom through choice, while addressing ideas of abandonment and performance anxiety. Sartre's philosophy is used to identify the roles both teachers and students play in the college environment as people and as performers. The study with the help of existentialism, describes the interaction between the different elements: teacher, student, performer, and human being, and provides a better understanding of the complexity of the pupil/professor relationship in the college piano performance program.
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Roothaan, John P. E. "Perspectives on teaching jazz piano "comping" in the college music program with sample instructional units." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1164926.
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The purpose of this study was to design and develop instructional units for teaching jazz piano comping to collegiate music students possessing basic piano skills but limited experience in jazz performance. In establishing bases and rationale for the instructional units, a number of issues were considered. These issues were (1) the need for teaching jazz piano comping, (2) a definition and explanation of the musical elements and characteristics of jazz and jazz comping, (3) an understanding of the African and European transmission traditions and musical characteristics that contributed to the development of jazz, (4) a review of literature relating to jazz piano comping, including jazz, music teaching and learning, and learning theory literature, and (5) a review of jazz piano comping practice from the swing era to the present, as reflected in the work of selected central jazz pianists. The twenty-four instructional units present basic harmonic and rhythmic materials of jazz piano comping. Harmonic materials include seven basic chord structures, harmonic extensions and alterations, upper-structure triads, II-V-I cadences, tritone substitution, chord successions, and typical chord progressions. Rhythmic materials include typical jazz rhythms. Each instructional unit is comprised of (A) presentation of a theoretical concept, (B) exercises for learning the particular concept, (C) a chord progression containing the particular concept, (D) a list of recorded examples of the chord progression for examination, and (E) suggested song titles for realization by the student. The instructional units are organized into four chapters of six units each. Instructional Units I through VI focus on individual voicings, organized into cycles of descending fifths. Units VII through XII focus on the II-V-I cadence and tritone substitution. Units XIII through XVIII focus on short chord successions. Units XIX through XXIV serves as a "summing up" of material presented in the first eighteen units. Overall, this work is designed to guide the student to technical proficiency, theoretical understanding, idiomatic fluency, and a creative approach to jazz piano comping.School of Music
Books on the topic "Piano instruction"
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Mach, Elyse. Contemporary class piano. 5th ed. New York: Oxford University Press, 2004.
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Meffen, John. Improve your piano playing. Brighton Road, Lower Kingswood, Tadworth, Surrey, U.K: Elliot Right Way Books, 2007.
Find full textBook chapters on the topic "Piano instruction"
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Sun, Ruiheng, Ningsheng Ma, Yuening Zhang, Qing Luo, and Hui Ye. "An e-Learning System for Piano Instruction." In Communications in Computer and Information Science, 113–21. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-31398-1_11.
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Pike, Pamela D. "Technology for the Group-Piano Instructor." In Dynamic Group-Piano Teaching, 192–99. New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315280370-16.
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Schmidt, Russell A. "Jazz Piano." In Teaching School Jazz, 199–208. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190462574.003.0018.
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Performing as a pianist in a jazz ensemble can be very rewarding. But to ensure participation is satisfying for both the individual and the group, requisite skill sets for performance must be learned, and musical responsibilities to fellow performers must be understood. This chapter presents useful harmonic theory and practical jazz piano exercises to help developing jazz pianists build a strong foundation. In addition, various harmonic exercises are presented that educators can provide to assist their pianists’ development, including an overview of basic, flexible voicings that are useful in many different jazz styles. The latter portion of the chapter provides a general philosophy regarding the role of the piano within the jazz ensemble, providing teachers with the perspective necessary to offer their pianists the most effective instruction.
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Bowman, Judith. "Applied Music." In The Music Professor Online, 85–111. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197547366.003.0005.
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This chapter describes issues related to teaching applied music online and presents experiences with online applied music instruction in narratives provided by professors engaged in this practice. It provides background on the challenges of online applied music teaching and the nature of applied music study, and it explains the signature pedagogy of applied music, a master–apprentice model. It reviews the state of the practice of online applied music instruction at various levels and asks how instructors might teach applied music effectively online. It features three professors who describe their online teaching experiences: applied piano using specialized equipment at various levels and in various contexts, wind instrument instruction via desktop videoconferencing, and iPad-based instrumental music instruction in a music education methods course. Each professor offers suggestions for prospective online teachers of applied music, and the chapter concludes with some lessons drawn from the field.
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Chapman, Con. "Young Man With a Sax." In Rabbit's Blues, 11–22. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190653903.003.0003.
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The chapter describes Hodges’s musical household, along with his limited instruction on the piano and saxophone. He received instruction on the saxophone formally, from (among others) a student at the New England Conservatory of Music in Boston, and informally, from other young men in his neighborhood, which came to be known as “Saxophonist Ghetto” because of the large number of musicians who played the instrument living there. Hodges’s youthful introduction to Sidney Bechet at a Boston burlesque show, at which he played a soprano sax, is described. The chapter recounts the saxophone’s history and its development in the jazz genre, as well as Hodges’s early public performances in the Boston area at a very young age. Hodges begins to develop a reputation both in Boston and throughout New England, and he eventually comes to the attention of Duke Ellington in a Boston nightclub.
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Haroutounian, Joanne. "The Flame: Teenage Years." In Kindling the Spark. Oxford University Press, 2002. http://dx.doi.org/10.1093/oso/9780195129489.003.0022.
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Close to a dozen years have gone by and we find ourselves seated on folding chairs enjoying the final recital of a private studio of talented piano students. Each year there are a few new eager faces as the younger students deftly work through pieces that seem very complex for such little fingers to play so quickly. We notice the students who have been seasoned through training, now in those tenuous intermediate years. Their intense desire for precision shows maturing musical ideas, but often arrives at awkward adolescence when being on stage has an added gravity of meaning. We search for the advanced teenagers—those students we have seen truly blossom through the long process of talent development. Numbers have dwindled in this studio. One has decided to move out of state and is now studying at a conservatory. Another has decided to concentrate efforts on the oboe, begun in elementary school band, with time restraints easing piano lessons out of her schedule. Academic and parental pressures have caused last year’s shining star, a junior seeking an Ivy League college education, to quit as well. There remains one teenager who ends the program with a flourish, receiving many hugs from young admirers and awards galore following the program. This is our tiny, eager student from the front steps. A senior, having completed a full twelve years of instruction with many competitions and solo recitals under his belt, he bids farewell to this comfortable, nurturing studio. He enters college as a math major. Many private teachers, parents, and music students may recognize this scene as a very realistic portrayal of possibilities in musical talent development. The first years of training are “romance,” with parents aglow when hearing their talented youngster perform with such confidence and flair. The middle years consist of flux and flow, a phase when students search for the “whys” and “hows” beneath the notes that were so easily played in prior years. Musical training now presents persistent challenges. Late-starters may speed into these years with determination. Others may begin a second instrument or composition classes to broaden musical experiences.
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Nichols, Roger. "‘Now we are Six’ 1919–1924." In Poulenc, 29–61. Yale University Press, 2020. http://dx.doi.org/10.12987/yale/9780300226508.003.0002.
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This chapter explains how Francis Poulenc exorcized the influence of Claude Debussy's piano music through his multi-stave preludes. It also analyzes Poulenc's modelling of his solo piano music in that of Igor Stravinsky, although the eight little piano duets were more interesting with the imaginative use of ostinato. It looks at Poulenc's three pieces called Mouvements perpétuels, which was acclaimed by virtuosos and by amateurs and reflected a sense in which the “war had created a new world.” The chapter looks at the performing instructions on Mouvements perpétuels, such as the second piece that must be played three times consecutively: the first time in a casual manner, second with plenty of rubato, and third with fury. It also mentions how Poulenc described Mouvements perpétuels as no more than three simple little touches of colour on a ground of white paper.
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Hochschild, Jennifer L., and Nathan Scovronick. "School Finance Reform." In American Dream and Public Schools. Oxford University Press, 2003. http://dx.doi.org/10.1093/oso/9780195152784.003.0007.
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IN A WEALTHY NORTHEASTERN STATE, two schools are near each other geographically but far apart in every other way. The school in the city sits beside an abandoned lot in a community that has lost most of its industrial jobs. “The physical appearance of the school is bleak, depressing. The hall is dark and dingy. . . . The playground outside is all brown wood and it is completely surrounded by hard pavement.” The library has not been used for 13 years; even the faculty bathrooms have no toilet paper or soap. The gym leaks. There is one computer for every 35 students, and none of the classrooms is wired for the Internet. The principal has trouble attracting qualified teachers in many fields and has none trained in computer instruction; according to the scholar who looked at these schools, teachers mainly use the computers to keep the students busy playing games when they have completed their worksheets. In this school 98 percent of the students are non-Anglo, more than two-thirds are eligible for free or reduced-price school lunches, almost three in ten are in special education. The residents of the district have a per capita income of $17,000 a year. In the suburb nearby, the school is “housed in a modern building and surrounded by large, well-maintained athletic fields. [It] boasts such amenities as a spacious school library furnished with rows upon rows of book stacks, and a high-ceilinged auditorium with theater-style seating and a grand piano on stage. Not only does the school have computers in every classroom, it also has a fully equipped computer lab, staffed by an instructor.” There is one computer for every four students, all wired for Internet use. Teachers have aides as well as access to “resource teachers” who specialize in various academic fields, help with curricula, and give “guest lectures” in classrooms. Most students participate in the orchestra, chorus, or specialized bands (or perhaps all three). One fourth-grade teacher, a graduate of Vassar College, was chosen over more than 200 competitors for her job, and along with the others in the school is paid considerably more than the state average. In this school 95 percent of the students are Anglo, fewer than one percent are eligible for free or reduced-price lunches, and only 5 percent are in special education. Residents of the district have a per capita income of $70,000.
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Manning, Jane. "RONALD PERERA (b. 1941)Five Summer Songs (1972)." In Vocal Repertoire for the Twenty-First Century, Volume 1, 230–32. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0064.
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This chapter considers a cycle by Ronald Perera. His songs show a special delicacy and flair in creating clear, well-balanced textures. The cycle will suit a light, flexible mezzo, able to negotiate a broad range of dynamics without becoming too weighty. Piano accompaniments are fluent and well varied, with repeated figures a regular feature. The musical style is straightforward and disciplined, with some recognizable nods to Stravinskian neoclassicism. There is considerable rhythmic verve, and a fine sensitivity to vocal timbres. The piano part contains abundant cues—even unisons—so there should be no problems with pitching. The composer's lucid instructions are a reliable guide for the performers.
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Longo, Shawna. "How Can I Integrate STEM with Music?" In Integrating STEM with Music, 35–50. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197546772.003.0004.
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This chapter demonstrates each of the sixteen components used in creating an instructional plan for a lesson that integrates STEM with Music. Each component is placed and developed in a particular way to achieve efficiency in the reading and executing of the overall instructional plan. These components consist of Lesson Title, Duration, Lesson Description, Listing Integration of Contents, Cognitive Demand Using Bloom’s Taxonomy, Gardner’s Multiple Intelligences, 21st-Century Skills, Content Standards and Arts Standards: Assessed vs. Addressed, Key Vocabulary, Arts Concepts Based on the National Core Arts Standards, Materials, Essential Questions, Lesson Sequence and Corresponding Assessments, Summary Activity, Extension Activity, and Adaptations for Grade-Level Bands (K–2, 3–5, 6–8, 9–12). All foundational information and concepts presented in previous chapters are illustrated in the presentation of a sample lesson, Wearable Circuits for Piano Performance: Sustain Pedal.
Conference papers on the topic "Piano instruction"
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"PIANO STUDENTS' PERSPECTIVES AND EXPERIENCES WITH REMOTE PIANO INSTRUCTION." In International Conferences Mobile Learning 2021 (ML 2021) and Educational Technologies 2021 (ICEduTech 2021). IADIS Press, 2021. http://dx.doi.org/10.33965/ml_icedutech2021_202102l021.
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Huang, Kevin, Ellen Yi-Luen Do, and Thad Starner. "PianoTouch: A wearable haptic piano instruction system for passive learning of piano skills." In 2008 12th IEEE International Symposium on Wearable Computers. IEEE, 2008. http://dx.doi.org/10.1109/iswc.2008.4911582.
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Akiba, Misato, and Wonseok Yang. "Learning to Read Music by Differences in Perception of Information." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001754.
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The development of information technology and devices has made it easier for everyone to take and share videos and photos, and many number of information has become available in the world. For example, when learning how to play a musical instrument, a game, or a household appliance, they can effectively understand it from videos and images on YouTube or Instagram, instead of reading an instruction manual or a reference book. Whereas the piano is difficult to practice efficiently because repetition and reading music are said to be the two most important elements needed to acquire the skill. Therefore, continuous practice is essential, but many people give up halfway. Focusing on reading music, we have to process multiple pieces of information on the score simultaneously in a short period of time while playing the piano. However, for beginners, it’s difficult to keep reading the necessary information from a score where information is concentrated in many symbols at the tempo of the performance. This research examines how to make it easier for beginners to recognize and remember information about music notation and how to use the information obtained more naturally. To this end, we clarified the process by which beginners learn and recognize information about musical notation in piano learning activities and clarified the characteristics that are expressed when they perform using the recognized knowledge.Firstly, we investigated whether learners would get support in an application whose purpose was to support reading practice. We found that the support could be categorized into three types, and that learning about pitch, rhythm, and keyboard position was important for beginners. To clarify the differences in these learning procedures depending on the level of proficiency, we conducted behavioral observations of beginners and experienced pianists practicing reading music, summarized their behavioral procedures into ordinal data, and conducted a Dematel analysis. As a result, we’re able to classify the level of proficiency into three levels: beginners (subjects with no piano experience), experienced (subjects with less than one year of piano study), and proficient (subjects with more than seven years of piano study). Based on the results of the questionnaire and interviews, we’re able to discover common issues such as beginners (1) not being able to practice smoothly because they couldn’t establish a procedure, (2) taking a long time to read the pitch of notes from the score, and (3) finding it difficult to read the rhythm from the score. From the above research, we examined new information display methods and innovations for the three types of information in music notation: pitch, rhythm, and sequence. In the case of pitch, it’s thought that information can be recognized efficiently by using the properties of color. For rhythm, we extracted information from the score and organized it in a new way, which reduced the error rate and led to more efficient practice. Also, with the information organized, even beginners were able to efficiently find the regularities and similarities in the score, which led to smooth read music.
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Li, Richard, Yingyan E. Wang, Chih-Pin Hsiao, Nicholas Davis, James Hallam, and Ellen Do. "Tactile Teacher: Enhancing Traditional Piano Lessons with Tactile Instructions." In the 19th ACM Conference. New York, New York, USA: ACM Press, 2016. http://dx.doi.org/10.1145/2818052.2869133.
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